Εγκυκλοπαίδεια Μείζονος Ελληνισμού, Κωνσταντινούπολη

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Stoudios Monastery (Imrahor Camii)

Συγγραφή : Marinis Vasileios (18/3/2008)

Για παραπομπή: Marinis Vasileios, "Stoudios Monastery (Imrahor Camii)", 2008,
Εγκυκλοπαίδεια Μείζονος Ελληνισμού, Κωνσταντινούπολη
URL: <http://www.ehw.gr/l.aspx?id=10915>
Stoudios Monastery (Imrahor Camii) (7/9/2009 v.1) Μονή Στουδίου (Ιμραχόρ Τζαμί) (28/6/2011 v.1) 

ΓΛΩΣΣΑΡΙΟ
 

aisle
Τhe part of the naos of a church set off by the internal rows of piers or columns, namely by the structures supporting the roof.

apse
An arched srtucture or a semi-circular end of a wall. In byzantine architecture it means the semicircular, usually barrel-vaulted, niche at the east end of a basilica. The side aisles of a basilica may also end in an apse, but it is always in the central apse where the altar is placed. It was separated from the main church by a barrier, the templon, or the iconostasis. Its ground plan on the external side could be semicircular, rectangular or polygonal.

atrium
1. Antiquity: The large, open space within a building, which is envelopped by colonnades.2. Βyzantium: The forecourt of a church in early Christian, Byzantine, and medieval arcitecture. It was usually surrounded by four porticoes (quadriporticus).

chancel screen of presbytery
A short barrier between the bema and the nave. It had originally the form of a parapet that was later made of stone or of marble. It is generally an element of early Christian religious architecture, and it appears on ground plans either as a linear structure or forming a Π. It consists of small columns or pillars in the interspace of which slabs are inserted. Crosses and floral patterns are usually used for the relief decoration of the screen.

entablature, the
The upper part of the classical order, that rests on the columns, it consists of the architrave, frieze and cornice.

gallery
The upper level of a house where the women resided. In ecclesiastical architecture it is the corridor above the aisles and narthex of a church, from where women attended the Liturgy. Originally (in the Byzantine period) the gallery, having a special entrance, was used exclusively by the emperor and the members of the royal family.

marble revetment
Τhe facing of a wall with slabs of marble

Moechian controversy
The Moechian controversy was a dispute that arose in 795, when Constantine VI forced his wife to become a nun and married his mistress Theodote. Patriarch Tarasios did not oppose to this marriage, while the rigorist monastic clergy condemned the liaison as adulterous. The dispute was yet another manifestation of the disparity between the rigorist monastic clergy and the patriarchal and imperial authority, which was caracteristic of Byzantine religious life after Iconoclasm.

narthex
A portico or a rectangular entrance-hall, parallel with the west end of an early Christian basilica or church.

opus sectile, the
Technique of floor or wall decoration. Thin pieces of polychrome marble are carved or joined so that a decorative motif could be depicted.

synthronon
Rows of built benches, arranged in a semicircular tier like a theatre, in the apse of a church. On these benches the clergy sat during Divine Liturgy. The bishop sat on the cathedra at the top of the synthronon.

three-aisled basilica
An oblong type of church internally divided into three aisles: the middle and the two side aisles. The middle aisle is often lighted by an elevated clerestory. In the Early Byzantine years this type of church had huge dimensions.

typikon
Foundation document of a monastery compiling the rules regarding its administrative organization and liturgic rituals, as well as the comportment inside a cenobitic monastery. The monastic typika could also include the biography (vita) of the monastery founder along with a catalogue of the movable or immovable property of the monastery. They constitute an important source for the study of the monastic life, while at the same time they shed light on many aspects of the Byzantine society. The liturgical typika were calendars with instructions for each day’s services, liturgical books with rules arranging the celebration rituals.

 
 
 
 
 
 
 
 

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Το έργου συγχρηματοδοτείται σε ποσοστό 80% από το Ευρωπαϊκό Ταμείο Περιφερειακής Ανάπτυξης (ΕΤΠΑ) και κατά 20% από εθνικούς πόρους στο πλαίσιο του Επιχειρησιακού Προγράμματος "Κοινωνία της Πληροφορίας" του Γ΄ ΚΠΣ.